Margot is on the quest to uncover and reassemble an ancient—and cursed—vase, with the help of a boy who went missing in 1932, because it's the only way to put back together her broken heart in this standa-lone adventure rom-com, perfect for fans of What the River Knows and The Lost City.

The mythical Vase of Venus Aurelia hasn’t been seen since 1932, but Margot Rhodes is determined to change that.

Drawn by the vase’s supposed magical properties, Margot embarks on her school’s archaeological trip to Pompeii. Sure, it’s her first time holding a shovel, but she’s got something no one else does: lost teenage explorer Van Keane’s journal.

Poring over the poetic entries that serve as a map to the vase’s missing shards, Margot finds herself falling in love with the boy who wrote it a century ago. She’s shocked when her search leads her to a statue that looks exactly like Van, and then the statue comes to life.

Catapulted into the present, Van is nothing like the wordsmith Margot imagined. He’s all sharp edges, intent on retrieving the relic for all the wrong reasons. But it takes two to survive Venus’s death-defying challenges, and, together, Margot and Van must excavate the treasure—and their buried pasts—before their story ends in ruins.

With a blend of humor, magic, and love, Rachel Moore crafts another stand-alone adventure rom-com full of double- and triple-crosses, hilarious shenanigans, and frustration-fueled banter, where the best treasure is true love.

Funny, moving, and heart-achingly real, this romantic romp and paranormal romcom debut—through a haunted library with trapdoors, ghosts, and memories—is full of great love that triumphs over even death, perfect for fans of Ninth House and Cemetery Boys. Radcliffe Prep. The third most haunted school in the country, where a student disappearance isn’t uncommon and no one dares stay in the library after dark. And Este Logano enrolls with the hopes of finding her dead father. Not literally, of course. She doesn’t believe in ghosts. Going to her dad’s school just seems like her best hope at figuring out who he was. But then Este meets Mateo, who is maybe—probably—definitely—a real ghost. And an annoying one at that. When Mateo frames Este for the theft of a rare book from the library’s secret spire and then vanishes, Este will have to track him down or risk being expelled and leaving Radcliffe early just like her father did. Except following her father’s footsteps might be more dangerous than Este ever anticipated. As she investigates the library with its secret passageways, hidden tunnels, and haunted halls, she learns that the student disappearances aren’t just myth. And if she isn’t careful, she’ll be next.

Brings new insights to the music of well-known European composers by telling a fascinating, little-known story about French music publishing, specifically through the lens of Jacques Durand's Édition Classique. French composers, performers and musicologists acted as editors of eighteenth- and nineteenth-century European 'classics', primarily for piano. Among these editors were Fauré, Saint-Saëns, Debussy, Ravel and Dukas; the objects of their enquiries included core works by Rameau, Bach, Mozart, Beethoven, Mendelssohn, Schumann and Chopin. Presenting six composer-editor case studies, the volume shows that the French 'accent', both musical and cultural, upon this predominantly Austro-German music was highly varied. Editorial responses range from scholarly approaches to those directed by performance or compositional agendas, and from pan-European to strongly patriotic stances. Intriguing intersections are revealed between old and new, and between French and cross-European canons. Beyond editing, the book explores the Édition's role in pedagogy and performance, including by pianists Robert Casadesus and Yvonne Loriod, and in the reassertion of contemporary French composition, especially regarding innovation around neoclassicism. It will interest a wide readership, including musicologists, performers and concert-goers, cultural historians and other humanities scholars.

In the First World War, civilian life played a fundamental part in the war effort; and music was no exception. Performing Propaganda looks at musical life in Paris during the First World War. This conflict was one in which civilian life played a fundamental part in the war effort; and music was no exception. The book examines how Western art music became a central part of the home-front war effort, employed by both musicians and government as a powerful tool of propaganda. It situates French art music of the First World War within its social, cultural and political context, and within the wider temporal framework of the Franco-Prussian and Second World Wars. Drawing on a diverse range of archival material, including concert and operatic programmes, the musical and daily press, documents detailing government involvement in musical activity, and police records, it explores how various facets of French musical life served, in very different ways, as propaganda. In short, it explores why music mattered during a period of prolonged conflict, whether as emotional catalyst, weapon, or tool. This book will be of interest to musicologists, to cultural historians working on early twentieth-century France, and to scholars of the First World War,as well as to a more general readership with an interest in music during times of adversity. RACHEL MOORE is a Leverhulme Early Career Fellow in Music, University of Oxford.

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